It’s an e-mail Alice
doesn’t send, but it doesn’t half set the tone for an exceptional play, which
is exceptionally well executed.

Be not alarmed.
‘Rotterdam’ may be about someone transgendering, but it is certainly not an
evening of righteous, right-on breast beating. (Though breasts are badly
treated). This is more akin to an orthodox sit-com with tons of laughs and many
deeply sincere moments. It’s just that it covers much more adventurous
territory, and the play is much more affecting, than the usual domestic fare.

It is a sublimely
constructed play which uses New Year’s Eve as a metaphor for change. And the
change that the central character Fiona has decided upon is one of gender. As a
girl, she was a Tom Boy who liked other girls. Nowadays, she sees herself as a
man in her dreams. She can live the lie no longer. “I just wanna use The
Gents”, she cries.

The trouble is she is in
a long-term lesbian relationship with sensible Alice, the girl friend she
nicked off her brother. But in a neatly written love rectangle, Alice is seeing
a dippy woman from work. So, both the comedy and the tragedy come from
complication and cowardice.

Jon Brittain’s crisp and
dynamic dialogue (which feels like it has been immaculately researched) is
sensitively handled by all four actors.

Fiona (who becomes
Adrian) is superbly played with anger and bewilderment by Lucy Jane Parkinson (who
describes herself as a non-binary actor).

Her worried ignorance
about the process and its consequences hangs over her. “If I had a willy, what
would I do with it?”

Over the interval she is
transformed from a gobby woman into a gobby man…. using posture, gesture, and
the habit of thrusting her hands deep into big pockets she didn’t have before,
to signal the change. She’s still worried, as in all domestic situations, about
the impact of events on her loved ones. Though, in a moment that rings
sublimely true, when she finally calls her mother, mother’s immediate concern
is whether she needs any money for the operation. I came away seriously
wondering is any other actor could play this part as well as Lucy Jane
Parkinson.

She is perfectly matched
by Bethan Cullinane’s reserved performance as her sweetheart Alice. This is
Rotterdam and she is a boring secretary in a boring shipping office. But a
spliff changes all that. Alice loosens up big time and Cullinane’s
transformation scene is as powerful as Parkinson’s. Her weed-induced, ranting
confession is a wonderfully sustained scene of hyper-ventilation; her dilemma
boiling down to one passionately poignant line; “I like girls, and now you’re a
man”.

She is enveloped and
enlivened by Lelani, played with great gusto by the Mischief Theatre graduate
Ellie Morris, who cavorts relentlessly round the stage. She is brimming with
attitude. Like a young Joan Rivers on speed, she cuts through the crap with
boundless energy and bountiful barbs. It’s the most believable completely over-the-top
performance I have ever seen.

The straight guy is the comedy’s
straight guy. Elijah W Harris’s performance as Fiona’s brother, Josh, could
easily slip through this show’s fingers – but he’s the rock around which the
stars orbit; a sensitive soul who mops up the angst and still cares for his
little sister … even when she no longer is.

The story is played out
on a box set that is so small it’s like watching a doll’s house. Amongst
director Donnacadh O’Briain’s set pieces is a wonderful sequence with bright
blue balloons which float around the floor signifying the New Year Celebrations
indoors and then, with frosty light and a little dry ice, become a frozen canal
outdoors. It’s a really clever idea.

But the best thing about
this show is its bravery. I wasn’t exactly looking forward to an evening of
transgender trauma…but the dashing dialogue,
punchy performances and the deeply human humour make this a night to
savour. I applaud The Grand for programming it … and urge you to go.